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Olá, Malta! Nico Jean is here with an excursion of acid, downtempo and hip-house flavors. Un 12” muy caliente, club ready & backed by a remix from Mexican underground heroes Soul Of Hex, also known as Mano De Fuego on Underground Resistance. Tip!

* Edition of 500 colored vinyl (transparent purple)
* Artwork developed in collaboration with Paris-based visual artist Caroline Ventura
* Including download code

i got a song, it’s gonna make us millions is the highly anticipated new album by Sirens Of Lesbos, led by sisters Jasmina and Nabyla Serag. The dynamic release is a vibrant showcase of the group's expansive musical range, blending R’n’B/Soul, Afrobeats, electronic music, and lo-fi indie pop into a rich, genre-defying experience. With its eclectic sound and captivating melodies, the album solidifies Sirens Of Lesbos as a standout force in modern music.

Featuring on the album are the singles “Room 333” feat. Kendrick-Lamar-collaborator Zacari, a futuristic R’n’B song with progressive club beats; the epic “Call Me Back” (feat. Drake-co-signed rapper SadBoi and the Kabusa Oriental Choir); and dub-infused reggae song “Let It Hurt”, plus new song “My Moon”, which draws inspiration from artists like Bruce Hornsby, Justin Vernon, and Jai Paul. Sirens Of Lesbos have earned widespread acclaim from outlets like CLASH, COLORS, Dork, Tsugi and Earmilk, with BBC 1Xtra’s CassKidd calling the collective “magical.”

As Black women living in the diaspora, Jasmina and Nabyla navigate the intersection of their parents’ collectivist North-East African culture and the Western emphasis on individuality. Questions of identity have always been central to their journey. While society often demands clear-cut definitions, the sisters have come to embrace their multifaceted identities: “We have always been many things.”

Both artists are deeply rooted in the technical and philosophical dimensions of sound. Jasmina recently completed her Sound Arts degree, and Nabyla is now finishing hers. Their academic pursuits have included creating abstract sound installations in exhibition spaces. However, their focus for the foreseeable future is on elevating the Sirens Of Lesbos project, writing and producing standout indie pop tracks, performing live, and delivering unforgettable experiences for their audiences.

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The vinyl version of i got a song, it’s gonna make us millions is published by Präsens Editionen, a Switzerland-based publishing house and music label. Founded in 2011 in the process of launching zweikommasieben Magazin, Präsens Editionen has since released music on vinyl, cassette, CD, and digital formats—alongside magazines, books, and other printed matter. Recent audio releases include works by Martina Lussi, spalarnia, Magda Drozd, Anom Vitruv, Belia Winnewisser, and Red On, among others.

Hip-hop royalty returns—Bun B and Statik Selektah team up once again for the fourth chapter of their blazing collabo-rative saga: TrillStatik 4. Recorded in real-time with that unmistakable underground urgency, this album is a master-class in modern rap chemistry, blending Bun B’s Southern grit with Statik’s boom-bap precision.

The guest lineup is nothing short of legendary. From DJ Premier setting the tone on “Live From Houston,” to Griselda heavyweights Westside Gunn, Conway The Machine, and Boldy James blessing “Trillselda 2,” every track hits with purpose. Regional flair runs deep, too—Paul Wall, Maxo Kream, and Lil’ Keke represent H-Town with pride, while East Coast lyricists like Termanology and Tek bring bar-for-bar fire.

This is more than a record—it’s a cipher of cultures, connecting street narratives, soul-drenched beats, and coast-to-coast talent.

Lip Critic’s 2024 Partisan debut Hex Dealer was one of the most-hyped experimental releases of that year (“Like the B-52s on ketamine” -Paste) and signaled the Brooklyn band’s arrival as a borderline-batshit creative force. Theft World is their next chapter, built again from the chaos of two drummers locked in psychic combat, a sampler that sounds like it was struck by lightning, and frontman Bret Kaser’s paranoid preacher energy. But where Hex Dealer leapt from one absurdist vignette to the next, Theft World plays like a fully locked-in transmission. Themes orbit around the concept of theft, not just as a political force or digital dilemma, but as a surreal, emotional constant. Club rhythms and hardcore breakdowns pull as much from Tyler the Creator’s ‘Igor’ and Korn as they do Skrillex and Soul Coughing, coming together to soundtrack a world that’s constantly being striped apart and resold.

There are sounds that are hard to recognize,
Others whose initial hisses awaken memories,
sensations.

We are in between,
In a no man’s land,
In a memory without a master,
In a face without light.

We scratch at the secrets of our souls,
Hoping for redemption.

We carve, without any remorse,
Words of hate into our hearts,
To guide us, to dominate us,
Unaware of their effect on ourselves.

We flee without destination, without reason.
We find ourselves among slabs of ice,
Of which our minds become the prison.
• Utopian Soul -

Die US-Kultband veröffentlicht ihr viertes Album.

Als die Idee für ein viertes Album (zum zweiten Mal) aufkam, war American Football klar, dass es düsterer werden würde. Nach einer einjährigen Welttour mit ausverkauften Konzerten zum 25-jährigen Bandjubiläum und der Veröffentlichung eines Coveralbums (mit Songs von Iron & Wine, Ethel Cain, Blondshell, u.a.) tat sich das Quartett mit Produzent/Toningenieur Sonny Diperri (My Bloody Valentine, M83, Kurt Vile) zusammen, um sein bis dato essentiellstes Album aufzunehmen. LP4 verbindet atmosphärische Soundlandschaften mit emotionaler Katharsis im Post-Rock-Stil. Anders als alles, was American Football bisher aufgenommen hat, fügt sie sich dennoch nahtlos in ihren stetig wachsenden und beeindruckenden Katalog ein. LP4 ist ein ambitioniertes künstlerisches Statement einer Band, die die Grenzen von Genre und Kultur immer wieder neu definiert. Es ist ein wunderschönes und vielschichtiges Album, das sich Zeit nimmt, seine Schönheit zu entfalten, während es gleichzeitig die dunkleren Seiten anklingen lässt, die sich so gut wie möglich verbergen. Das Album enthält Gastvocals von Brendan Yates (Turnstile), Wisp und Caithlin De Marrais (Rainer Maria).

They Came Like Swallows is the first album-length collaboration between Thurston Moore and Kramer (now officially Bonner Kramer), two giants of alternative/ experimental music. The accomplishments and influence of these two artists in the world of independent music cannot be overstated and the result of their artistic union is a startlingly cohesive statement that burns through landscapes of primitive outsider rock, avant-garde composition, progressive ambient and further locales boldly and beautifully unnamable. “Kramer and I reconnected in Miami, Florida, a few years back, many many years after each of us had departed NYC on separate life adventures. It was only a matter of time before Kramer and I started making plans to record together and with his irrepressible due diligence he quickly set up a mobile recording contraption in the pad I was decamped in, the Florida sunshine flowing through the palm leaves, lithe lizards skittering across the windowsills, and we just went for it.

Kramer had the idea to cover a Joy Division tune, a left turn from the improvisations we had been tracking, though wholly in keeping with both our sensibilities of light and dark unifying in transcendent songwriting, both of us devotees of 'the song' as well as 'the freedom.’ What transpired is They Came Like Swallows, a session we immediately felt should exist as a prayer to the war-torn souls of the families of Palestine continually decimated by the brutality of genocide. We agreed beyond words to offer our music as a sonic activism and as a beneficent energy. This album is our duo exchange for human dignity, it is our soul music for any semblance of a peaceful planet.” ~ Thurston Moore “For the first time in our nearly 45 years of friendship, we had identical time windows open to make a record together,” recounts Kramer. After all this time not a moment is wasted as the duo immediately taps into the heightened core of improvisational tension across these seven offerings. Volcanic opener “Urn Burial” notches a similar historic union (John Cale and Terry Riley) to meet the circumstances of the moment, with swirling mists of organ and pounding toms over guitar that thickens the atmosphere with jagged, grimy dissonance.

Solemn strings open the second track, “The Redness In The West,” with Kramer’s cello and viola in dueling bow beneath the high tension drive and sustain of Thurston’s electric guitar, tapping out a Morse code of tension that mounts endlessly into a fog of inevitable war by the end. Moore and Kramer’s sense of experimentalism is in free and full grandeur throughout They Came Like Swallows, though the duo keep a strong and constant sideways eye on melody, composition and architecture, to the ends that any strict lines between song and improvisation are blurred beyond qualification.

As if to punctuate this point, Swallows closes with a nightwork cover of Joy Division’s “Insight,” a doleful coda that breathes out with a solemn inner grace under Thurston’s instantly stylistically recognizable guitar melodies as they weave into he and Kramer’s unison voices. As the lone vocal piece and only traditional ‘song’ form on the album, “Insight” is unique to this set and as a closing statement draws connective lines back to the kind of dynamic, electrified melodicism that wove deep, melancholy patterns into the untamed fire of Sonic Youth’s Sister and Daydream Nation. In the album’s final moments, the two voices repeat the lyric “I’m not afraid anymore” as mantra, underscoring the heavy, unsettled themes and methods that preceded it. Kramer describes the creative process of They Came Like Swallows: “I had composed and recorded a few pieces at my home studio over the course of a couple weeks. Thurston was spending the winter in South Florida, so I flew down and spent a few days recording his guitar parts in his home there. Watching him spontaneously compose his parts was pretty astonishing, to say the least. Once we'd finished working on those pieces, we began improvising and following wherever the music pointed us, and another few pieces were born. We got straight to it, without anything driving us other than the joy of finally working together.

My personal goal was to remain present and catch as many surprises as I could from Thurston's guitar work, and there were plenty during those few days. We had a fucking blast.” Thurston’s contributions here will be readily familiar to any acolytes of his other works, the through-line between his inspired playing, cradled in Kramer’s meticulous, solid arrangements. “If I had to make this record again, I'd do it all exactly the same way,” Kramer says. “It’s like jazz, you don't think about it. You just do it. It was miraculous, and you don't fuck with a miracle.”

They Came Like Swallows is the first album-length collaboration between Thurston Moore and Kramer (now officially Bonner Kramer), two giants of alternative/ experimental music. The accomplishments and influence of these two artists in the world of independent music cannot be overstated and the result of their artistic union is a startlingly cohesive statement that burns through landscapes of primitive outsider rock, avant-garde composition, progressive ambient and further locales boldly and beautifully unnamable. “Kramer and I reconnected in Miami, Florida, a few years back, many many years after each of us had departed NYC on separate life adventures. It was only a matter of time before Kramer and I started making plans to record together and with his irrepressible due diligence he quickly set up a mobile recording contraption in the pad I was decamped in, the Florida sunshine flowing through the palm leaves, lithe lizards skittering across the windowsills, and we just went for it.

Kramer had the idea to cover a Joy Division tune, a left turn from the improvisations we had been tracking, though wholly in keeping with both our sensibilities of light and dark unifying in transcendent songwriting, both of us devotees of 'the song' as well as 'the freedom.’ What transpired is They Came Like Swallows, a session we immediately felt should exist as a prayer to the war-torn souls of the families of Palestine continually decimated by the brutality of genocide. We agreed beyond words to offer our music as a sonic activism and as a beneficent energy. This album is our duo exchange for human dignity, it is our soul music for any semblance of a peaceful planet.” ~ Thurston Moore “For the first time in our nearly 45 years of friendship, we had identical time windows open to make a record together,” recounts Kramer. After all this time not a moment is wasted as the duo immediately taps into the heightened core of improvisational tension across these seven offerings. Volcanic opener “Urn Burial” notches a similar historic union (John Cale and Terry Riley) to meet the circumstances of the moment, with swirling mists of organ and pounding toms over guitar that thickens the atmosphere with jagged, grimy dissonance.

Solemn strings open the second track, “The Redness In The West,” with Kramer’s cello and viola in dueling bow beneath the high tension drive and sustain of Thurston’s electric guitar, tapping out a Morse code of tension that mounts endlessly into a fog of inevitable war by the end. Moore and Kramer’s sense of experimentalism is in free and full grandeur throughout They Came Like Swallows, though the duo keep a strong and constant sideways eye on melody, composition and architecture, to the ends that any strict lines between song and improvisation are blurred beyond qualification.

As if to punctuate this point, Swallows closes with a nightwork cover of Joy Division’s “Insight,” a doleful coda that breathes out with a solemn inner grace under Thurston’s instantly stylistically recognizable guitar melodies as they weave into he and Kramer’s unison voices. As the lone vocal piece and only traditional ‘song’ form on the album, “Insight” is unique to this set and as a closing statement draws connective lines back to the kind of dynamic, electrified melodicism that wove deep, melancholy patterns into the untamed fire of Sonic Youth’s Sister and Daydream Nation. In the album’s final moments, the two voices repeat the lyric “I’m not afraid anymore” as mantra, underscoring the heavy, unsettled themes and methods that preceded it. Kramer describes the creative process of They Came Like Swallows: “I had composed and recorded a few pieces at my home studio over the course of a couple weeks. Thurston was spending the winter in South Florida, so I flew down and spent a few days recording his guitar parts in his home there. Watching him spontaneously compose his parts was pretty astonishing, to say the least. Once we'd finished working on those pieces, we began improvising and following wherever the music pointed us, and another few pieces were born. We got straight to it, without anything driving us other than the joy of finally working together.

My personal goal was to remain present and catch as many surprises as I could from Thurston's guitar work, and there were plenty during those few days. We had a fucking blast.” Thurston’s contributions here will be readily familiar to any acolytes of his other works, the through-line between his inspired playing, cradled in Kramer’s meticulous, solid arrangements. “If I had to make this record again, I'd do it all exactly the same way,” Kramer says. “It’s like jazz, you don't think about it. You just do it. It was miraculous, and you don't fuck with a miracle.”

Die US-Kultband veröffentlicht ihr viertes Album.

Als die Idee für ein viertes Album (zum zweiten Mal) aufkam, war American Football klar, dass es düsterer werden würde. Nach einer einjährigen Welttour mit ausverkauften Konzerten zum 25-jährigen Bandjubiläum und der Veröffentlichung eines Coveralbums (mit Songs von Iron & Wine, Ethel Cain, Blondshell, u.a.) tat sich das Quartett mit Produzent/Toningenieur Sonny Diperri (My Bloody Valentine, M83, Kurt Vile) zusammen, um sein bis dato essentiellstes Album aufzunehmen. LP4 verbindet atmosphärische Soundlandschaften mit emotionaler Katharsis im Post-Rock-Stil. Anders als alles, was American Football bisher aufgenommen hat, fügt sie sich dennoch nahtlos in ihren stetig wachsenden und beeindruckenden Katalog ein. LP4 ist ein ambitioniertes künstlerisches Statement einer Band, die die Grenzen von Genre und Kultur immer wieder neu definiert. Es ist ein wunderschönes und vielschichtiges Album, das sich Zeit nimmt, seine Schönheit zu entfalten, während es gleichzeitig die dunkleren Seiten anklingen lässt, die sich so gut wie möglich verbergen. Das Album enthält Gastvocals von Brendan Yates (Turnstile), Wisp und Caithlin De Marrais (Rainer Maria).

Past Due Records is thrilled to announce the release of Midnight Blue's "One Wish - South Carolina 1975-83," a compilation showcasing the legendary funk and modern soul band from Columbia. This limited edition double LP compilation is an exclusive collection highlighting the band's peak during the mid-1980s American boogie funk era. Formed in 1975, Midnight Blue blended the talents of local musicians Myron Alford, Robert Hoefer, Jr., Ronnie Amiker, and many others. Despite their underground status, their music left a lasting impact, performing alongside legends like Midnight Star and Prince. The compilation includes their debut single "Feel It and Groove Together," their powerful rendition of "I Who Have Nothing," and unreleased tracks recorded with Cameo's Larry Blackmon. Fan favorites such as "All Because of You" and "Coolin' Out" will also be featured. This double LP comes with a full story and many never-before-seen pictures of the band, making it a must-have for any fan of eighties funk, courtesy of Past Due Records.

Oceanine, Jolanda Moletta’s third album and her first for Beacon Sound, is a powerful and ethereal statement of artistic community. Expanding on her previous work, each track represents a collaboration with a different female vocalist, with the foundational elements being generated entirely by her own voice. By turns haunting, enchanting, and inspiring, you won’t want to come up for air once you’ve been pulled under. Representing a
musical practice that is distinctly feminist, this is an album with a longer view in mind, to an age when the altars were to goddesses and women were centered as powerful beings representing the earth’s cycles of regeneration and renewal. Oceanine then, in all its beauty, can be viewed as an album of survival. It is deeply transportive, accessing something that lies within all of us. As the late, great Lithuanian folklorist and archaeologist Marija Gimbutas noted, “We must refocus our collective memory. The necessity for this has never been greater as we discover that the path of 'progress' is extinguishing the very conditions for life on earth.”

Jolanda Moletta is a multimedia artist and one-woman electronic choir. She creates wordless compositions through extended vocal techniques, integrating wearable-controlled live processing, alongside symbolic visuals. Moletta considers her performances to be a collective ritual and creates her Sonic & Visual Spells following the cycles of nature and the moon. Jolanda's 2022 critically acclaimed album Nine Spells was released on the Ambientologist label, followed by Night Caves on Whitelabrecs in 2025. Moletta’s artistic practice is a radical and spiritual journey through sound art, ritual, and the symbolic archaeology of the feminine.

Oceanine is inspired by sirens, water nymphs, and the timeless call of the sea. At its core lies Jolanda’s deep, lifelong connection to the Mediterranean Sea and to the ancient and modern myths and folklore that have emerged from its waters. Growing up by the Mar Ligure, Jolanda was surrounded by stories carried by salt, wind, and waves: legends of sirens, echoes of ancient voices, and the sea as both origin and oracle. This intimate relationship with the Mediterranean is not merely a backdrop, but a living source that shapes Oceanine’s emotional, symbolic, and sonic world.

Each track features a different female vocalist, creating a rich tapestry of voices, styles, and perspectives. This artistic choice not only broadens the album’s sonic palette, but also deepens its narrative core: celebrating the power, beauty, and mystique of feminine energy through myth, history, and sound.

The entire album is built exclusively from the human voice, processed and layered, yet always remaining voice, and nothing else. For each piece, Jolanda invited every vocalist involved to contribute a raw stem: a short, unedited melodic fragment of just a few seconds, inspired by the album’s themes. These intimate vocal seeds became the foundation of each track: the guest artists’ voices appear as brief, melodic stems, while the entire surrounding “orchestral” fabric is created solely from Jolanda’s own layered and processed voice. In this way, Jolanda’s voice becomes the Ocean itself, embracing, absorbing, and carrying the sirens’ calls within a vast, immersive soundscape. Every song is a unique expression of the feminine experience, revealing its depth, complexity, and emotional range, echoing the call of the sea and the many faces of the siren archetype.

The figure of the siren has transformed across centuries. In myths of Ancient Greece and Rome, sirens were hybrid beings, part woman, part bird, whose irresistible songs lured sailors to their doom. During the Middle Ages, the image shifted toward the half-woman, half-fish figure, often associated with temptation and danger. Historically, the voice of women has often been feared. Sirens were considered harbingers of misfortune not simply because they seduced or destroyed, but because they were powerful liminal beings.

In Ancient Greek, sirens functioned as psychopomps: figures who existed between worlds and guided souls, especially between life and death. Their songs were believed to carry forbidden knowledge, including prophetic insight and the ability to reveal truths about fate and the future. The danger of the sirens lay in what they revealed: knowledge that humans were not meant, or ready, to hear.

Oceanine confronts this legacy head-on. The voices heard throughout the album are not merely beautiful: they are dark and luminous, wild and enchanting, magical, soothing, dreamy, and at times fractured or distorted. They whisper, lament, beckon, and enchant. Like sirens, they skim the surface of the water and sink into its depths, hovering on the edge between tenderness and danger, vulnerability and power. They rise toward the sky, dissolve into mist, and return as echoes charged with raw, elemental emotion: voices that seduce, warn, mourn, and remember. They refuse to be reduced to decoration.

Alongside the album’s release in May, Oceanine will also unfold as a visual and performative work through a short art film. The film includes a live session recorded inside a sea cave facing the Mar Ligure, the very coastline where Jolanda spent her childhood, dreaming of sirens and listening to the sea as if it were speaking directly to her. This site-specific performance reconnects the music to its place of origin, allowing the voice to resonate within stone, water, and air, and transforming the cave into both a sanctuary and a threshold between myth and reality.

What if the sirens’ songs were considered dangerous because they carried another truth, an ancient truth long forgotten?

Oceanine embraces the idea that we are still deeply woven into myth. Though we may see ourselves as rational and modern beings, our world is saturated with ancient symbols and archetypes, often distorted, simplified, or stripped of their original meaning. And if those symbols are allowed to shift, if the mirror once held by the siren becomes an invitation to look beyond appearances and into what has been obscured, then we may finally uncover a deeper truth and reclaim the voice that was always ours.

Oceanine is not just an album. It is a reclamation, a spell, and a call from the depths.

Northern Front records 9th Vinyl release comes in the shape of Response & Pliskin Designer Manipulation EP and consists of 4 drum & bass tracks. The release will also have full front and back artwork by Mark McGuinness who also makes an appearance as Suspect on the EP which was mastered by Simon @ Exchange……..

Through the dense blend of Japanese New-Wave, between moldy kimonos and punctured paper screens, along the rails of a sonic bullet train, this mini-LP reaches us, overflowing with purebred Punk-Funk, splinters of Soul and shredded Jazz. A gold nugget in a sea of sadness. Scattered energy trapped in a handful of vinyl grooves. Originally released in 1986.

Celebrated producer and musician Danger Mouse and prodigiously talented New York rapper Jemini are gearing up to release their long delayed collaborative album, Born Again Remarkably this soul and funk infused hip-hop tour de force arrives two decades after its creation and the duo's debut LP, Ghetto Pop Life which celebrates its 20th anniversary this year. Enthused by the response to Ghetto Pop Life, soon after Danger Mouse and Jemini began to tour and to write and record Born Again. Finally, having been recorded two decades ago and indefinitely shelved until now, Born Again will finally be released to coincide with the twentieth anniversary of Ghetto Pop Life. The previously unheard record retains many of the elements of Danger Mouse and Jemini's debut; the fun- loving, shit- talking innocence, but also adopts a noticeably more introspective and confessional tone. This time, in addition to lighthearted topics such as being an incredible artist (Knuckle Sandwich II, Brooklyn Basquiat), living large and being a magnet for attention (Me), Jemini also delivers highly- personal and occasionally devastating lyrics about missed opportunities and redemption (All I, Born Again), his time in prison (Locked Up) and complicated relationship with his father (Dear Poppa). His effortless free flowing cadence and indelible sing-song delivery elevate each track with a melodic infectiousness whilst Danger Mouse exhibits an affinity for resonant instrumentals built from sampled organ, vibraphone, or guitar loops and infused with his trademark minor key magic. The result is a classic, timeless hiphop record.

Celebrated producer and musician Danger Mouse and prodigiously talented New York rapper Jemini are gearing up to release their long delayed collaborative album, Born Again Remarkably this soul and funk infused hip-hop tour de force arrives two decades after its creation and the duo's debut LP, Ghetto Pop Life which celebrates its 20th anniversary this year. Enthused by the response to Ghetto Pop Life, soon after Danger Mouse and Jemini began to tour and to write and record Born Again. Finally, having been recorded two decades ago and indefinitely shelved until now, Born Again will finally be released to coincide with the twentieth anniversary of Ghetto Pop Life. The previously unheard record retains many of the elements of Danger Mouse and Jemini's debut; the fun- loving, shit- talking innocence, but also adopts a noticeably more introspective and confessional tone. This time, in addition to lighthearted topics such as being an incredible artist (Knuckle Sandwich II, Brooklyn Basquiat), living large and being a magnet for attention (Me), Jemini also delivers highly- personal and occasionally devastating lyrics about missed opportunities and redemption (All I, Born Again), his time in prison (Locked Up) and complicated relationship with his father (Dear Poppa). His effortless free flowing cadence and indelible sing-song delivery elevate each track with a melodic infectiousness whilst Danger Mouse exhibits an affinity for resonant instrumentals built from sampled organ, vibraphone, or guitar loops and infused with his trademark minor key magic. The result is a classic, timeless hiphop record.

In 2006, "Undiscovered" introduced the UK to one of its most distinctive new voices. Powered by the breakout single "You Give Me Something", the album debuted at No.1 in the UK Albums Chart, and went on to become 5x Platinum in the UK, and achieved Platinum and Gold certifications across Europe, Australia and beyond. Blending soul, acoustic pop and classic British songwriting, "Undiscovered" delivered a string of enduring tracks including "Wonderful World" and "The Pieces Don"t Fit Anymore", establishing James Morrison from the outset and laying the foundation for a successful international career. To celebrate its 20th anniversary, the album returns in new formats for collectors. The vinyl has been cut by John Webber at AIR Studios to showcase the warmth and depth of the original recordings, and a deluxe CD edition features 4 bonus tracks, available exclusively on CD. A landmark British debut of the 2000s, "Undiscovered" remains a defining release of its era.

When five-time Grammy award winner Taj Mahal intersects with The Phantom Blues Band, it’s one of those rare joints that hits you before you even know you’ve been hit. They walk in, plug in, and the whole room shifts. Studio assassins, road lifers, groove keepers and somehow still hungry. They are an internationally renowned Two-Time Grammy Award winning group. Taj Mahal’s fearless, open-hearted spirit still shadows the whole thing with that genre-hopping joy. He leads you down the road with a history lesson and the Phantoms carry it with honor to the Griot.

Mahal sings and plays harp as he fronts an all-star lineup of legendary musicians with the three ringleaders for the Phantoms--Johnny Lee Schell, the soulful gunslinger with tone for days, Tony Braunagel keeps the whole ship steered straight and on time, every time, and Larry Fulcher, the anchor, the heartbeat, the quiet storm on bass. Additionally, Jon Cleary, with that unmistakable New Orleans piano swagger, Mick Weaver, a session master who’s playing slides in with an undeniable velvet magic, and in the horn section, Joe Sublett on sax and Les Lovitt on trumpet bring the orchestration into the full view of this genre. This band doesn’t ‘back” anybody. They lift you up, carry you, and dare you to rise higher. On this record they slide through blues, soul, R&B, and island color with the ease of men who’ve lived every bit of it. This is deep-groove, grown-folks music from a band that still plays like the night is young. ‘Time’ is their new release on Resonatin’ Records / Thirty Tigers and celebrates over thirty years of making this uplifting inspiring and aspiring music together.

Iconic Atlanta quintet SEVENDUST is back with its 15th studio album, ONE, set for release on May 1, 2026 via Napalm Records. The upcoming full-length LP forges ten simultaneously lean and gut-punching tracks out of gargantuan riffs, seismic grooves, and signature soul-stirring hooks, once again produced by Michael “Elvis” Baskette (Alter Bridge, Falling In Reverse, Mammoth). The group, comprised of Lajon Witherspoon (vocals), Clint Lowery (lead guitar, backing vocals), John Connolly (lead guitar, backing vocals), Vince Hornsby (bass), and Morgan Rose (drums), busts down the door with the first single “Is This The Real You”. Its swaggering fretwork alternately wallops and gallops in lockstep with a pummeling rhythm anchored by thunderous drums. The riff rolls and seethes, and the vocals swing from guttural growls into the embrace of a jazz-y chantable chorus.

A hummable lead ties the bridge together. Echoes of a tensely picked single-note set the tone for “Threshold.” Lajon’s delicate delivery gives way to a contentious distortion-boosted refrain. Then, there’s “Unbreakable,” which has all the makings of a clarion call for the collective and a future live staple. Strains of soft piano slip into the undertow of a towering hook punctuated by a promise, “We were meant to be unbreakable… even when we’re at our lowest lows. And if it gets too cold, I’ll never let you go.” The title track succinctly sums up the record as a whole. Bellowing out of a maelstrom of roaring distortion, Lajon’s voice reaches heavenly heights. For over three decades, SEVENDUST have made countless fans feel a part of something special. The group’s community isn’t passive. Members of the “7D Army” make a very active commitment to being part of this family – as evinced by sold-out shows worldwide and innumerable tattoos of the band’s logo and lyrics. Since 1994, the band has quietly built a legacy without parallel, encompassing sales of nearly eight million albums, a GRAMMY® Award nomination for “Best Metal Performance,” three Top 15 entries on the Billboard 200, hundreds of millions of streams, and the fierce loyalty of millions of listeners in every corner of the globe.

3rd full length album fron the UK's heaviest band. This is an accolade not thrown around lightly. BOUND IN FEAR have been crafting their sound over the years, honing it into an undisputed heavyweight bomber. 'A MIND TOO SICK TO HEAL is a hellish journey into the darkest side of the human mind, Smashing out of the gates with 'SENTENCED' & 'CHASM', the first stand alone singles to be lifted from the forthcoming album, BIF roar a statement of intent that ups the heat ever so slightly from their usual downtempo delivery, before returning to the familiar crushing slabs of concrete the band are revered for. 'THREE KNEE DEEP' & 'DARKNESS REDEFINED' follow as the spotlight cuts for what is unquestionable one of the heaviest albums to ever emerge out of the United Kingdom.

Mancunian singer-songwriter Lusaint releases her brand-new LP ‘The Apothecary’, featuring the standout lead single, ‘Lie To Yourself’, and soulful, jazz-infused track ‘Summertime’.